Hey hey! And welcome.

 

I'm a queer Warwickshire-based screen, live cinema and immersive director with a hidden disability and an irrepressible sense of creativity and humour. I'm Artistic Director of Liminal Stage Productions, Associate Learning Practitioner at the RSC, Development Researcher at Hat Trick Lab (2023), and a Transform Clore Fellow (2021).

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I create formally ambitious stage, screen and immersive productions that explore the interplay between different media, genres & forms, and that interrogate alternative perspectives in order to tell urgent, powerful stories about what it means to be human.

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Last year:

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• ScreenSkills commissioned Liminal to deliver a 2-day Creative Convergence workshop training arts and culture professionals in virtual production techniques

• Hat Trick Productions have employed me as part of their new Hat Trick Lab, generating innovative and disruptive ideas for the future

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In 2022:

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• The Royal Shakespeare Company seed-commissioned my live multi-camera Virtual Production (VP) show, FLEX, a queer love story exploring disability as superpower

• Industrial Light & Magic + Epic Games selected Liminal for a competitive 8-week VP training scheme funded by StoryFutures Academy

• The Guardian hailed my ★★★★ “sharply directed and brilliantly eerie nailbiter”, GREY MAN: A Stage And Screen Experiment (commissioned by The Space and starring Kate O’Flynn), as the best digital theatre to stream in December 2022: https://www.liminalstage.com/greyman

In 2021 I undertook a year's Fellowship with the Clore Leadership Programme, investigating how to better join up the creative and digital industries. In 2019 I completed an Arts Council England-funded residency as 1st AD/2nd Unit Director on Katie Mitchell's live multi-camera video production of ORLANDO adapted by Alice Birch at the Schaubuehne.

 

Previously, I trained at the RSC with Deputy Artistic Director Erica Whyman, at Donmar Trafalgar, and at the Print Room with Lucy Bailey. My selection of award-nominated shows include my "exhilarating and provoking" & “technically inventive” (The Stage) HOWARD BARKER DOUBLE BILL at Arcola (2015), my ACE-funded centennial adaptation of WOYZECK launching Omnibus (2013), and my "shrewd, searching production" of LOT AND HIS GOD played at The Print Room (2012) to critical acclaim.

 

I was the youngest founding Board member of Stage Directors UK, have been a Trustee of the Directors Charitable Foundation, and regularly teach and direct at drama schools and universities across the UK.

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